2 days ago
Cannes is a place for shocks, jolts and surprises. This change of artistic direction from Chinese film-maker Jia Zhang-ke offers plenty. He has been known until this moment for an intensely considered, quiet documentary realism — particularly in the 2006 movie Still Life, about communities preparing to be drowned in the service of China’s Three Gorges hydro-electric Dam. So this brash, daring and often ultraviolent movie is atypical to say the least, avowedly inspired by the wuxia martial arts films of King Hu, but it has clear debts to Tarantino’s riffs on this same genre, and to Sergio Leone. The idea of Jia Zhang-ke making his own Pulp Fiction or A Fistful of Dollars (or rather yen) might before now have seemed fanciful. But that is what he has done — or almost.In fact, A Touch of Sin eventually moves back to the calmer, realist cinematic language more associated with this director in its final act. And the film is in any case not simply a racy adventure in exploitation, but an angry, painful, satirical lunge into what the director clearly sees as the dark heart of modern China, and a real attempt to represent this to audiences elsewhere in the world. He sees China as a globalised economic power player suffering a new and violent Cultural Revolution of money-worship in which a cronyist elite has become super-rich in the liquidation of state assets, creating poisonous envy in the dispossessed who hear all about others’ wealth from the internet, and are supposed to gossip aspirationally about it on their mobile phones. A key scene in the film shows someone brooding over Weibo, the Chinese equivalent of Twitter.It is a fractured and divided story, like shards of a shattered mirror. Different strands and characters and stories emerge, tangentially concerned with each other. Jia has taken his plotlines from newspapers, violent stories of criminal despair, and by meshing them together, these tales, often involving guns, build up a picture of China as a desolate Wild West of lawless violence and cynicism. A worker erupts with anger at how the mine-chief has somehow been able to afford a sports car and to lease a private plane. Three brothers coming back to their hometown for their mother’s birthday reveal themselves to be deeply unhappy in various ways, and the unhappiness somehow always manifests itself in violence. Two have handguns: one casually slays three guys who have attempted to rob him on the road. Another, who has been telling his wife he has been travelling the country looking for work, reveals himself to be an ice-cool armed robber who doesn’t scruple to murder women in cold blood for their expensive designer bags. Another is having an affair with a sauna receptionist (played by Jia’s longtime leading actor Zhao Tao) and this too ends in a bloody confrontation.Only in the final section does this arguably overlong movie calm down a little: spinning off into the story of a young man who finds work as a waiter in a bizarre brothel-hostess club for wealthy plutocrats and foreigners, the girls being ironically dressed in skimpy outfits as the soldiers and workers of the Maoist past. But the violence hangs over the film like a haze: gunshot wounds to the face, ugly and very real-looking fistfights. This is a bitter, jagged, disaffected drama, pessimistic about China, pessimistic about the whole world. One characters asks another if he ever feels like travelling abroad. “Why would I?” he replies. “Everywhere is broke. Foreigners come here now.” Jia Zhang-ke’s movie gives us a brutal unwelcome.
A Touch of Sin by Jia Zhang-Ke (view the trailer)

Cannes is a place for shocks, jolts and surprises. This change of artistic direction from Chinese film-maker Jia Zhang-ke offers plenty. He has been known until this moment for an intensely considered, quiet documentary realism — particularly in the 2006 movie Still Life, about communities preparing to be drowned in the service of China’s Three Gorges hydro-electric Dam. So this brash, daring and often ultraviolent movie is atypical to say the least, avowedly inspired by the wuxia martial arts films of King Hu, but it has clear debts to Tarantino’s riffs on this same genre, and to Sergio Leone. The idea of Jia Zhang-ke making his own Pulp Fiction or A Fistful of Dollars (or rather yen) might before now have seemed fanciful. But that is what he has done — or almost.

In fact, A Touch of Sin eventually moves back to the calmer, realist cinematic language more associated with this director in its final act. And the film is in any case not simply a racy adventure in exploitation, but an angry, painful, satirical lunge into what the director clearly sees as the dark heart of modern China, and a real attempt to represent this to audiences elsewhere in the world. He sees China as a globalised economic power player suffering a new and violent Cultural Revolution of money-worship in which a cronyist elite has become super-rich in the liquidation of state assets, creating poisonous envy in the dispossessed who hear all about others’ wealth from the internet, and are supposed to gossip aspirationally about it on their mobile phones. A key scene in the film shows someone brooding over Weibo, the Chinese equivalent of Twitter.

It is a fractured and divided story, like shards of a shattered mirror. Different strands and characters and stories emerge, tangentially concerned with each other. Jia has taken his plotlines from newspapers, violent stories of criminal despair, and by meshing them together, these tales, often involving guns, build up a picture of China as a desolate Wild West of lawless violence and cynicism. A worker erupts with anger at how the mine-chief has somehow been able to afford a sports car and to lease a private plane. Three brothers coming back to their hometown for their mother’s birthday reveal themselves to be deeply unhappy in various ways, and the unhappiness somehow always manifests itself in violence. Two have handguns: one casually slays three guys who have attempted to rob him on the road. Another, who has been telling his wife he has been travelling the country looking for work, reveals himself to be an ice-cool armed robber who doesn’t scruple to murder women in cold blood for their expensive designer bags. Another is having an affair with a sauna receptionist (played by Jia’s longtime leading actor Zhao Tao) and this too ends in a bloody confrontation.

Only in the final section does this arguably overlong movie calm down a little: spinning off into the story of a young man who finds work as a waiter in a bizarre brothel-hostess club for wealthy plutocrats and foreigners, the girls being ironically dressed in skimpy outfits as the soldiers and workers of the Maoist past. But the violence hangs over the film like a haze: gunshot wounds to the face, ugly and very real-looking fistfights. 

This is a bitter, jagged, disaffected drama, pessimistic about China, pessimistic about the whole world. One characters asks another if he ever feels like travelling abroad. “Why would I?” he replies. “Everywhere is broke. Foreigners come here now.” Jia Zhang-ke’s movie gives us a brutal unwelcome.

A Touch of Sin by Jia Zhang-Ke (view the trailer)

2 months ago
Contest to kill 100 people using a sword
In 1937, the Osaka Mainichi Shimbun and its sister newspaper the Tokyo Nichi Nichi Shimbun covered a “contest” between two Japanese officers, Toshiaki Mukai (向井敏明) and Tsuyoshi Noda (野田毅), both from Island troops, the Japanese 16th Division, in which the two men were described as vying with one another to be the first to kill 100 people with a sword before the capture of Nanking. From Jurong to Tangshan (two cities in Jiangshu Province, China), Toshiaki Mukai had killed 89 people while Tsuyoshi Noda had killed 78 people. The contest continued because neither of them had killed 100 people. When they got to Zijin Mountain, Tsuyoshi Noda had killed 105 people while Toshiaki Mukai killed 106 people. Both officers supposedly surpassed their goal during the heat of battle, making it impossible to determine which officer had actually won the contest. Therefore (according to the journalists Asami Kazuo and Suzuki Jiro, writing in the Tokyo Nichi-Nichi Shimbun of December 13), they decided to begin another contest, with the aim being 150 kills. The Nichi Nichi headline of the story of December 13 read “‘Incredible Record’ [in the Contest to] Behead 100 People—Mukai 106 – 105 Noda—Both 2nd Lieutenants Go Into Extra Innings”.

Contest to kill 100 people using a sword

In 1937, the Osaka Mainichi Shimbun and its sister newspaper the Tokyo Nichi Nichi Shimbun covered a “contest” between two Japanese officers, Toshiaki Mukai (向井敏明) and Tsuyoshi Noda (野田毅), both from Island troops, the Japanese 16th Division, in which the two men were described as vying with one another to be the first to kill 100 people with a sword before the capture of Nanking. From Jurong to Tangshan (two cities in Jiangshu Province, China), Toshiaki Mukai had killed 89 people while Tsuyoshi Noda had killed 78 people. The contest continued because neither of them had killed 100 people. When they got to Zijin Mountain, Tsuyoshi Noda had killed 105 people while Toshiaki Mukai killed 106 people. Both officers supposedly surpassed their goal during the heat of battle, making it impossible to determine which officer had actually won the contest. Therefore (according to the journalists Asami Kazuo and Suzuki Jiro, writing in the Tokyo Nichi-Nichi Shimbun of December 13), they decided to begin another contest, with the aim being 150 kills. The Nichi Nichi headline of the story of December 13 read “‘Incredible Record’ [in the Contest to] Behead 100 People—Mukai 106 – 105 Noda—Both 2nd Lieutenants Go Into Extra Innings”.

3 months ago

Hong Kong (CNN) — The number of Tibetans in China who have set themselves on fire to protest Beijing’s rule has reached 100, according to Tibetan advocacy groups.

Lobsang Namgyal, a 37-year-old former monk, set himself on fire earlier this month in Aba prefecture, known in Tibetan as Ngaba, an ethnically Tibetan area of the Chinese province of Sichuan, according to Free Tibet, a London-based advocacy group.

“This grim milestone should be a source of shame to the Chinese authorities who are responsible and to the world leaders who have yet to show any leadership in response to the ongoing crisis in Tibet,” said Stephanie Brigden, the director of Free Tibet.

Self-immolation has become a desperate form of protest in recent years for ethnic Tibetans unhappy with Chinese rule, and it shows no sign of abating.

Of the 100 Tibetans who have now set themselves on fire in China, at least 82 are believed to have died from the act, according to the International Campaign for Tibet.

(Editor’s note: Let’s be real. China is one of the worst countries when it comes to human rights.)

4 months ago 4 months ago 6 months ago
tersaudades:
nybooks: In his legendary book ‘Tombstone,’ Yang Jisheng uses the Communist Party’s own records to document, as he puts it, “a tragedy unprecedented in world history for tens of millions of people to starve to death and to resort to cannibalism during a period of normal climate patterns with no wars or epidemics.”
China: Worse Than You Ever Imagined by Ian Johnson
Photo: Chinese refugees returning to China from Hong Kong, May 1962 (AFP/Getty Images)

tersaudades:

nybooks: In his legendary book ‘Tombstone,’ Yang Jisheng uses the Communist Party’s own records to document, as he puts it, “a tragedy unprecedented in world history for tens of millions of people to starve to death and to resort to cannibalism during a period of normal climate patterns with no wars or epidemics.”

China: Worse Than You Ever Imagined by Ian Johnson

Photo: Chinese refugees returning to China from Hong Kong, May 1962 (AFP/Getty Images)

8 months ago 9 months ago 10 months ago

The Distancing Effect in Jia Zhangke’s ‘Still Life’

Jia Zhangke’s film ‘Still Life’ tells the story of a man in search of his daughter in the valley of the Three Gorges in China. The man has not seen his daughter for sixteen years whereas the old address of his estranged wife is the only clue to his family’s whereabouts. Crucially, the film was made in 2006, the same year that the Three Gorges Dam was completed and the water levels of the Yangtze began to rise. The man quickly discovers that his estranged wife’s house is already completely submerged by water. Throughout the film, the monumentality of the task of locating his family is signified by long and sweeping shots, aesthetically reminiscent of Romanticist paintings, with the man in the foreground and his gaze transfixed by the ever-changing landscape in the background.

The impending force of the Yangtze is emphasised in a number of shots that indicate where the water levels of the river are expected to be in the future. Streets, buildings, homes, an entire city in short, is expected to give way to the Yangtze at 156.5 meters above sea level. As the Chinese character on one building indicates, anything in the way of this mega-project is labelled ‘demolish’ (拆, chāi). It is important to note that such demolitions, often forced on tenants with little or no compensation, are one of the major sources of social instability in China. Where will the people that inhabit these buildings go? What will they do? Metaphorically speaking, what will the future of China look like. The blown out highlights and lack of visual details in a number of poignant scenes in the movie indicate that the man’s future, China’s future, is diffused, ambigious, literally not clear.